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absolute admirable already ambition antique art of Italy artist Barry Barry's beauty belonging career character charm claims colour complete composition Conrad Celtes contemporaries devotion Diirer drawing earlier English engraving example executed exhibition expression face fact failure fame feeling figures Florence force fresco Gainsborough genius gifted Giovanni da Udine Giulio Romano grace Grosvenor Gallery hand human ideal imaginative design impress individual influence inspired intellectual invention Italian Italy Jan Van Eyck labour Lady landscape later lent Leonardo lived Louvre Lucas Van Leyden Mantegna master ment Michelangelo modern movement nature Nuremburg painter painting passion peculiar perhaps Perugino picture Pinturicchio poetical portrait portrait-painter portraiture possessed qualities Raphael realism reality recognise record Reynolds Rossetti Royal Academy Rubens scarcely seek seems sense Sir Joshua sketch Society spirit strange strength style temper thought tion Titian tradition truth Vandyck Venice Vittoria Colonna Windsor youth
Page 135 - English artists are the most engaged, a variety, a fancy, and a dignity derived from the higher branches, which even those who professed them in a superior manner did not always preserve, when they delineated individual nature. His portraits remind the spectator of the invention of history, and the amenity of landscape. In painting portraits, he appeared not to be raised upon that platform, but to descend to it from a higher sphere.
Page 128 - The poorest of men, as he observed himself, did not labour from necessity more than he did from choice. Indeed, from all the circumstances related of his life, he appears not to have had the least conception that his art was to be acquired by any other means than great labour ; and yet he, of all men that ever lived, might make the greatest pretensions to the efficacy of native genius and inspiration.
Page 122 - I have taken another course, one more suited to my abilities, and to the taste of the times in which I live.
Page 134 - His talents of every kind — powerful from nature, and not meanly cultivated by letters — his social virtues in all the relations and in all the habitudes of life, rendered him the centre of a very great and unparalleled variety of agreeable societies, which will be dissipated by his death. He had too much merit not to provoke some jealousy, too much innocence to provoke any enmity.
Page 91 - on my going home, to find some corner where I could sit down, in the middle of my studies, books, and casts after the antique, to paint this work and others, where I might have models of nature when necessary, bread and soup, and a coat to cover me...
Page 177 - ... a minute observation of particular nature. If Gainsborough did not look at nature with a poet's eye, it must be acknowledged that he saw her with the eye of a painter ; and gave a faithful, if not a poetical, representation of what he had before him.
Page 123 - I reflect not without vanity, that these Discourses bear testimony of my admiration * Che Raffaelle non ebbe quest" arte da nutura, ma per lunyo studio. of that truly divine man, and I should desire that the last words which I should pronounce in this Academy, and from this place, might be the name of — MICHAEL ANGELO*.
Page 133 - Talking of melancholy, he said, " Some men, and very thinking men too, have not those vexing thoughts. Sir Joshua Reynolds is the same all the year round. Beauclerk, except when ill and in pain, is the same.
Page 81 - a little, ordinary man not in the most graceful deshabille — a dirty shirt without any cravat, his neck open and a tolerable length of beard, his stockings, not of the purest white in the world, hanging about his heels, sitting at a small table in the midst of this artificial confusion, etching a plate from one of his own designs.